DOCSLIB.ORG

STELLA MARIS COLLEGE (AUTONOMOUS), CHENNAI Course Schedule – June to November 2017 Department : FINE ARTS Name/S of the Faculty : DR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
STELLA MARIS COLLEGE (AUTONOMOUS), CHENNAI Course Schedule – June to November 2017 Department : FINE ARTS Name/S of the Faculty : DR STELLA MARIS COLLEGE (AUTONOMOUS), CHENNAI Course Schedule – June to November 2017 Department : FINE ARTS Name/s of the Faculty : DR. LAKSHMI PRIYA DANIEL Course Title : BUDDHIST ART IN INDIA Course Code : 15FA/MC/BA14 Shift : I Week & No. of Units & Topics Teaching Text & Method of hours Methodology References Evaluation June 16 – 22, 2017 Unit 1 Beginnings of Lectures with Indian Continuous (Day Order 1 to 6) Indian Art power Architecture Assessment 50 point presentation Vol. I by Percy marks 4 Hrs 1.1 Prehistoric cave Brown paintings of Bhimbetka Lecture with 1.2 Art of the Indus Video A History of Fine Valley presentation, Arts 1.2.1 Architecture: Photographs and in India and the Citadel Layout, Great other visual aids West Bath, Granaries, Lothal by Dr. Sr. Edith Dock Layout Tomory 1.2.2 Sculpture: Seals, Dancing Girl, Bearded Lothal and the Man Indus Civilisation by S.R. Rao. Civilisation of the Indus Valleys and Beyond by Mortimer Wheeler June 23 –30, 2017 Unit 2 Lectures with (Day Order 1 to 6) Introduction to power Buddhism point presentation Art and Test 1 and Test 4 Hrs Architecture 2 will follow 2.1 Vedic period and its Interactive of India by the end exam philosophy Discussions Benjamin pattern 2.2 Buddhist philosophy Rowland July 01 - 07, 2017 Unit 3 Lecture with Buddhist Art, 2 (Day Order 1 to 6) Architecture Video vols. by Meena Talim. 4 Hrs 3.1 Stupa: Stupa No.1, presentation, Sanchi Photographs and other visual aids July 10 - 17, 2017 Unit 3 Lectures with Early Buddhist (Day Order 1 to 6) Architecture power Rock point presentation Temples by Vidya 4 Hrs 3.2 Chaitya: Bhaja, Karle Dehejia Ajanta and Ellora 3.3 Vihara: Ajanta Cave by 1, Ellora Cave 12 R.S. Gupte & B.D. Mahajan July 18 - 25, 2017 Unit 4 The Stupa at Third (Day Order 1 to 6) Sculpture Lectures with Bharhut Component power by A. Assignment/ 4 Hrs 4.1 Stambha: Asoka point presentation Cunningham seminar – brief Pillar, Sarnath Submission: Group Early Indian September 12 - 4.2 Didarganj Yakshi Discussions- Sculpture 19, 2017 Comparative by L. Bachofer 4.3 Bharhut Vedika: analyses The art and Mahakapi Jataka, Architecture of the Chulakoka Yakshini Indian Subcontinent by J.C. Harle July 26- Aug. 01, Unit 4 Lectures with 2017 Sculpture power 4.4 Sanchi Thoranas: point presentation Indian Art by (Day Order 1 to 6) Quiz Capitals evolution; Vidya 4 Hrs Eastern Thorana- Great Group Dehejia Departure, Conversion of Discussions- Kasyapa Brothers, Comparative Salabhanjika analyses August. 02-09, Unit 4 2017 Sculpture (Day Order 1 to 6) 4.5 Gandhara: Standing Lectures with A History of Fine 4 Hrs Buddha, Hoti Mardan; power Arts Fasting Buddha; Head point presentation in India and the 4.6 Mathura: Bodhisattva West dedicated by Friar Bala; Interactive by Dr. Sr. Edith Seated Buddha, Katra, Discussions Tomory Head August 10- 16, Unit 4 2017 Sculpture Lecture with (Day Order 1 to 4) 4.7 Seated Buddha, Video Gupta Sculpture 3 Hrs Sarnath presentation, by Photographs and J.C. Harle 4.8 Veneration of other visual aids Buddha’s Begging Bowl, Amaravati Museum field visit August 17 - 22, C.A. Test 2017 August 23-24, 2017 Unit 5 Lectures with Ajanta and Ellora: (Day Order 5 to 6) Painting power point Cave 5.1 Satavahana and presentation Temples of 1 Hr Vakataka: Ajanta Ancient India Cave 10 by Pushesh Pant August 28 – Unit 5 Sep.04, 2017 Painting Lectures with Sacred Buddhist Powerpoint (Day Order 1 to 6) Painting 5.1 Satavahana and presentation by Anjan 4 Hrs Vakataka: Ajanta Chakraverty. Cave 17 September 05 – 12, Unit 5 Lectures with 2017 Painting Powerpoint Sacred Buddhist An Objective 5.1 Satavahana and presentation (Day Order 1 to 6) Painting Test Vakataka: Ajanta by Anjan 4 Hrs Cave 17 Chakraverty. September 13 - 19, Unit 5 Lecture with Sacred Buddhist Third 2017 Painting Video Painting Component 5.1 Satavahana and presentation, by Anjan submission and (Day Order 1 to 6) Vakataka: Ajanta Photographs and Chakraverty. evaluation 4 Hrs Cave1 other visual aids September 20 - 27, Unit 5 Lecture with Sacred Buddhist 2017 Painting Video Painting 5.1 Satavahana and presentation, by Anjan (Day Order 1 to 6) Quiz Vakataka: Ajanta Photographs and Chakraverty. 4 Hrs Cave1 other visual aids September 28 – Unit 5 Lectures with Oct. 07, 2017 Painting Powerpoint Indian Painting: 5.2 Buddhist palmleaf presentation Eastern (Day Order 1 to 6) manuscript School by D.P. 4 Hrs illumination of the Ghosh. Pala School October 09-14, Revision Group 2017 Discussions- Comparative (Day Order 1 to 6) analyses 4 Hrs October 16-17, Revision Interactive 2017 Discussions (Day Order 1 to 2) 1 Hr STELLA MARIS COLLEGE (AUTONOMOUS), CHENNAI Course Schedule – June to November 2017 Department : FINE ARTS Name/s of the Faculty : Ms. PREETHA and Mr. KAMALAVANNAN Course Title : DRAWING Course Code : 15FA/MC/P114 Shift : I Week & No. of Units & Topics Teaching Methodology Text & Method of hours References Evaluation June 16 – 22, 2017 Unit 1 Basic Orientation to the course Exploring the A personal (Day Order 1 to 6) Exercises Basics of journal of Working with lines to create Drawing, memory drawings 1.1 Lines, forms in sketchbook in Vebell, Victoria of objects Doodling drawing media. Geometric 1.2 Use of Drawing three-dimensional constructions thick and thin objects like cube, sphere, using thick and lines to create cone, etc, in line and close to thin lines. forms one another, slightly apart at one end, fully away and at Unit 2 different angles using pencils Contours in sketch books. 2.1 Basic shapes Introduction to perceiving, analyzing and drawing natural objects. June 23 –30, 2017 Arranging various three- Ching, Francis, Home assignment (Day Order 1 to 6) Unit 2 dimensional objects in a D.K., Drawing: on arrangement of Contours tumble and drawing various A Creative simple cubic and Basic shapes in views and angles, next to Process cuboid objects space each other, in front, behind, and drawing them on top and below each other as a composition. with pastels in sketch books. July 01 - 07, 2017 Unit 2 Exercise to explore positive Design Select class work (Day Order 1 to 6) Contours and negative space and Graphics, to be evaluated. 2.2 understanding contours using David Fair and Positive and multiple image and Marilyn Kenny negative space silhouettes with cut paper, colour pencils, and ink in sketch books. July 10 - 17, 2017 Unit 3.1 One Power point presentation Design Home assignment (Day Order 1 to 6) point about Perspective. Graphics, on a simple perspective David Fair and architectural view Class work exercises on Marilyn Kenny to be submitted. Unit 3.1 Two simple architectural views point using pencil, marker pens on One class work to perspective half sheets of white boards. be evaluated by peers and faculty. July 18 - 25, 2017 Unit 3.1 Two Perspective drawing Design The topic for (Day Order 1 to 6) point exercises based on buildings Graphics, personal journal perspective on campus David Fair and of memory using charcoal and pastels on Marilyn Kenny drawings. half sheets of white boards. Class work exercises based Unit 3.1 on few outdoor sketching Three point using pencils on half sheets of white boards. perspective July 26- Aug. 01, Unit 3.1 Class work exercises based Design One class work to 2017 Three point on buildings on campus Graphics, be evaluated by perspective using pencils on half sheets David Fair and peers and faculty. (Day Order 1 to 6) of white boards. Marilyn Kenny August. 02-09, Unit 3.2 Class work exercises using Creating planar 2017 Rectilinear and simple rectilinear objects and relief forms of curvilinear curvilinear objects using curvilinear. (Day Order 1 to 6) form marker pens. August 10- 16, Unit 3.2 Design Select class work 2017 Rectilinear and Continuation of above Graphics, to be evaluated. curvilinear exercises in coloured pencils David Fair and (Day Order 1 to 4) forms and charcoal. Marilyn Kenny 3.3 Crating Class work exercises using simple rectilinear objects using marker pens. August 17 - 22, C.A. Test 2017 August 23-24, Unit 4.1 Comparison of various Drawing: A One class work to 2017 Scale and objects of similar yet Creative be evaluated by proportion different sizes. Process, Ching, peers and faculty (Day Order 5 to 6) Francis, D.K August 28 – Unit 5 Class work exercises via Home assignment acrylic sheets - on outdoor on outdoor Sep.04, 2017 Out-door compositions in campus with compositions to (Day Order 1 to 6) compositions focus on foreground, middle be submitted. ground and background. September 05 – Unit 5 Class work exercises using Exploring the Select class work 12, 2017 Still life simple rectilinear objects and Basics of to be evaluated. compositions curvilinear objects with Drawing, (Day Order 1 to 6) focus on foreground, middle Vebell, Victoria Home assignment ground and background as on arrangement of well as objects above and still life with 2 below using pencils and cuboids and 1 marker pens. curvilinear object to be prescribed September 13 - 19, Unit 4 Continuation of above Exploring the One class work to 2017 exercises in charcoal, marker Basics of be evaluated by Still life pens and oil pastels. Drawing, peers and faculty (Day Order 1 to 6) compositions Vebell, Victoria September 20 - 27, Unit 5 Outdoor quick sketches Select class work 2017 to be evaluated. Out-door Independent work on an (Day Order 1 to 6) compositions outdoor composition using any media September 28 – Unit 5 Drawing: A One class work to Oct. 07, 2017 Continuation of above Creative be evaluated by Out-door exercises on half sheets of Process, Ching, peers and faculty.
Load more

Recommended publications
  • Symbolism of Woman and Tree Motif in Ancient Indian Sculptural Art with Special Reference to Yaksi Figures
    International Journal of Applied Social Science RESEARCH PAPER Volume 6 (1), January (2019) : 160-165 ISSN : 2394-1405 Received : 17.11.2018; Revised : 02.12.2018; Accepted : 18.12.2018 Symbolism of Woman and Tree Motif in Ancient Indian Sculptural Art with Special Reference to Yaksi Figures ADITI JAIN Assistant Professor P.G. Department of Fine Arts, BBK DAV College for Women, Amritsar (Punjab) India ABSTRACT Tree worship has always been the earliest and the most prevalent form of religion since ages. Through the worship of nature and trees it became possible for man to approach and believe in god. In India tree worship was common even in the third or fourth millennium B.C. Among the seals of Mohenjo-daro dating from the third or fourth millennium B.C., is one depicting a stylized pipal tree with two heads of unicorns emerging from its stem which proves that tree worship was already being followed even before the rise of Buddhism. The trees were regarded as beneficent devatas because they were the only friends of man is case of any environmental danger. Buddhism adopted the cult of tree worship from the older religions which prevailed in the country. The particular trees which are sal, asoka and plaksha. Gautama achieved enlightenment under a pipal tree which was hence forth called the Bodhi tree, and he died in a grove of sal trees. It was on account of these associations with the Buddha that the trees were regarded as sacred by the Indians. The most important concept of tree worship also reminds us of the worship of a woman especially yaksi or queen Mahamaya associated with the birth of Bodhisattava in a sal grove while holding a branch of sal tree.
    [Show full text]
  • I D F Kaikrafts
    +91-8048372333 I D F Kaikrafts https://www.indiamart.com/idf-kaikrafts/ Kai Krafts, a project of the Bangalore based NGO, Initiatives for Development Foundation (idf) supports artisans and crafts pertaining to North Karnataka. Through concentrated marketing efforts, Kai Krafts strives to revive North Karnataka crafts ... About Us Kai Krafts, a project of the Bangalore based NGO, Initiatives for Development Foundation (idf) supports artisans and crafts pertaining to North Karnataka. Through concentrated marketing efforts, Kai Krafts strives to revive North Karnataka crafts and to improve the earning potential of the skilled artisans versed in these crafts. Our name stems from the Kannada word for “hand” or “kai” and reflects our mission to promote handmade products from North Karnataka. As a project of the NGO, idf, we work closely with the artisans to fuse traditional crafts with products geared towards a contemporary market. Initially, our project was supported by Give2Asia. This fund was released by Give2Asia through the Deshpande Foundation, who monitored the programme throughout the funded period of April, 2010 to March 31, 2011. IDF Federation was the implementing agent and has been supervising the entire project to date. At Kai Krafts, we endeavor to provide customers with unique, handmade and ethical products. By linking artisan clusters with markets, Kai Krafts both ensures that the artisans are paid fair wages for their hard work and that these crafts endure. Kai Krafts is currently marketing the products of artisans skilled in the highly technical and difficult embroidery form of Kasuti. Kasuti is comprised of the Kannada words “Kai” meaning hand and “Suti” meaning cotton thread thus translating to “handwork of cotton thread.”..
    [Show full text]
  • Khabbar Vol. XXXIX No. 3 (July, August, September
    Khabbar North American Konkani Newsletter Volume XXXIX No. 3 July, August, September - 2016 From: The Honorary Editor, "Khabbar" P. O. Box 222 Lake Jackson, TX77566 - 0222 XXXIX-3 ADDRESS SERVICE REQUESTED FIRST CLASS TO: Khabbar XXXIX No. 3 Page: 1 Khabbar Follies In this section, Khabbar looks into the Konkani community and anything and everything that is Konkani from a Konkani point of view. The names will never be published but geographic location will be identified in general terms. There is no doubt in my mind that Khabbar is a part & parcel of life of Konkanis in North America. In fact, Khabbar has developed a special relation with most of the Konkani families and here are some examples of those close encounters of a different kind….…… The Konkani Sammelan 2016 in Atlanta was a fabulous event. everybody’s relief, at the end of the sammelan, there was a Kudos to the Team KAOG who did an outstanding job for a surplus! successful sammelan. But, the financial situation was bleak! Before the sammelan started, there was a forecast of heavy Thanks to everyone who came to the rescue to make KS-2016 deficit!! For various reasons, the anticipated fund raising did a complete success. not materialize. Team NAKA and Team KAOG did an extreme fund raising and the Konkani community at large Editor’s Reply: opened their heart and the wallet. All said and done, to Now, that is what I say is the Konkani spirit. ***** SUBSCRIPTION FORM: Dear Konkani family, It is time to renew your subscription for 2016.The numbers on the mailing label clearly indicate the year/s the dues for Khabbar has been received since 2014.
    [Show full text]
  • Sewing Tools Guide TUBE TURNERS These Handy Tools Help Turn Fabric Tubes Right Side Out
    ERGONOMIC SEWING TOOLS HELPFUL SEWING TOOLS Hands that ache from arthritis or carpal tunnel syndrome due to repeated use of sewing tools demand Tools are designed to accomplish specific tasks. Use of the correct tool makes completing the project easier ergonomic engineering. Some of the most frequently used tools have a new ergonomic design and quicker. with soft-grip features that make them easier to hold and handle with comfort. BODKINS TRACING WHEELS Bodkins are used to guide trims, elastic and The proper way to use a tracing wheel is with the index finger cording through narrow casings and tubing. extended along the top edge of the handle. Both ergonomic tracing The Ball Point Bodkin looks like a long needle wheels are designed with gently curved handles that follow the with a rounded tip. It smoothly slides into natural form of the hand. Choose from either a serrated or a smooth casings. The shorter Ezy-Pull® Bodkin has special “teeth” that grip onto the end of elastic or ribbon so that rolling wheel. it does not get lost during the process of threading. SEAM RIPPERS THREADERS No matter the sewing skill level, from time to time A Drawstring Threader makes the task of replacing or all sewers reach for a seam ripper to practice the task adding a drawstring to hoods, activewear and bags of reverse sewing. The ergonomic seam rippers have quick and easy. It includes two loops that a conical shape with soft finger grips that provide a will fit most drawstrings, ribbons and elastic comfortable grip. The handles can be extended by cording.
    [Show full text]
  • State Wise Registration of GI
    STATE WISE REGISTRATION DETAILS OF G.I APPLICATIONS th 15 September, 2003 – Till Date Goods S. Application Geographical Indications (As per Sec 2 (f) of State No No. GI Act 1999 ) FROM APRIL 2004 – MARCH 2005 1 1 & 2 Darjeeling Tea (word & logo) Agricultural West Bengal 2 3 Aranmula Kannadi Handicraft Kerala 3 4 Pochampalli Ikat Handicraft Andhra Pradesh FROM APRIL 2005 – MARCH 2006 4 5 Salem Fabric Handicraft Tamil Nadu 5 7 Chanderi Fabric Handicraft Madhya Pradesh 6 8 Solapur Chaddar Handicraft Maharashtra 7 9 Solapur Terry Towel Handicraft Maharashtra 8 10 Kotpad Handloom fabric Handicraft Odisha 9 11 Mysore Silk Handicraft Karnataka 10 12 Kota Doria Handicraft Rajasthan 11 13 & 18 Mysore Agarbathi Manufactured Karnataka 12 15 Kancheepuram Silk Handicraft Tamil Nadu 13 16 Bhavani Jamakkalam Handicraft Tamil Nadu Himachal 14 19 Kullu Shawl Handicraft Pradesh 15 20 Bidriware Handicraft Karnataka 16 21 Madurai Sungudi Handicraft Tamil Nadu 17 22 Orissa Ikat Handicraft Odisha 18 23 Channapatna Toys & Dolls Handicraft Karnataka 19 24 Mysore Rosewood Inlay Handicraft Karnataka Himachal 20 25 Kangra Tea Agricultural Pradesh 21 26 Coimbatore Wet Grinder Manufactured Tamil Nadu 22 28 Srikalahasthi Kalamkari Handicraft Andhra Pradesh 23 29 Mysore Sandalwood Oil Manufactured Karnataka 24 30 Mysore Sandal soap Manufactured Karnataka 25 31 Kasuti Embroidery Handicraft Karnataka 26 32 Mysore Traditional Paintings Handicraft Karnataka 27 33 Coorg Orange Agricultural Karnataka 1 FROM APRIL 2006 – MARCH 2007 28 34 Mysore Betel leaf Agricultural Karnataka
    [Show full text]
  • SPIN Sewing Curriculum.Pdf
    Debra Proctor, USU Extension Associate Professor, FCS/4-H, Wasatch County Susan Haws, USU Extension Assistant Professor, FCS/4-H, Summit County Stacey Mac Arthur, USU Extension Assistant Professor, 4-H, State Office Description The Discover 4-H Clubs series guides new 4-H volunteer leaders through the process of starting a 4-H club or provides a guideline for seasoned volunteer leaders to try a new project area. Each guide outlines everything needed to organize a club and hold the first six club meetings related to a specific project area. Purpose The purpose is to create an environment for families to come together and participate in learning activities that can engage the whole family, while spending time together as a multi-family club. Members will experiment with new 4-H project areas. What is 4-H? 4-H is one of the largest youth development organizations in the United States. 4-H is found in almost every county across the nation and enjoys a partnership between the U. S. Department of Agriculture (USDA), the state land-grant universities (e.g., Utah State University), and local county governments. 4-H is about youth and adults working together as partners in designing and implementing club and individual plans for activities and events. Positive youth development is the primary goal of 4-H. The project area serves as the vehicle for members to learn and master project-specific skills while developing basic life skills. All projects support the ultimate goal for the 4-H member to develop positive personal assets needed to live successfully in a diverse and changing world.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • 247 Medieval Devanganas : Their Individual Motif
    247 CHAPTER - VI DEVANGANA SCULPTURAL IMAGE STUDY PART-II - POST GUPTA AND MEDIEVAL DEVANGANAS : THEIR INDIVIDUAL MOTIF ANALYSIS 1. SVASTANASPARSA 2. KESHANISTOYAKARINI 3. PUTRAVALLABHA 4. KANDUKAKRIDA 5. VASANABHRAMSA 6. MARKATACESTA 7. VIRA 8. DARPANA 9. PRASADHIKA 10. ALASA 11. NATI-NARTAKI 12. NUPURAPADIKA-SANGITAVADINI 248 CHAPTER - VI DEVANGANA SCULPTURE IMAGE STUDY PART - II : VI. 1 POST GUPTA AND MEDIEVAL DEVANGANAS : THEIR INDIVIDUAL MOTIF ANALYSIS 13 The overlapping of meaning in the imageries of Salabhanjika, nadi devis, nayika-kutilaka group, mithunas, aquatic motifs, varuna etc.j implicit in their representation on religious architecture now lead us to the study of individual devangana imageries. In doing so our attention will focus on their varied representations and the contexts in which they have been placed on temple architecture. The aquatic connection emerges as major connecting link between the graceful imageries of celestial womeni often interpreted by scholars as representations of nayikas in stages of love and exhibiting their charms. Often looked at by scholars as apsaras, those infamous alluring 1 snarelike characters of the puranas, who when depicted on the temples^ perform their graceful charms on the spectators. The antithesis between woman and wisdom, sorrow lurking behind the sensual; are observed by some as the reasons why the so called apsaras are carved in profusion on the temple walls. This does not appear convincing. The intention with which I have built up the base, bridging the Salabhanjika, yaksini, nadidevis and apsaras, is to unravel the more chthonfc level of meaning which can be traced back to the Vedic sources. The presence of the woman is ever auspicious and protective, her nourishing aspect and the sensual aspect fuse together or imply fertility, and these concepts have remained in the Indian human psyche 249 perenninally, It is only the contemporary representation which changes the form and hence,? Khajuraho devanganas appear over sensuous than Jaga"t or Matnura yaksis.
    [Show full text]
  • Journal 33.Pdf
    1 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 33 APRIL 30, 2010 / VAISAKHA 2, SAKA 1932 2 INDEX Page S.No. Particulars No. 1. Official Notices 4 2. G.I Application Details 5 3. Public Notice 11 4. Sandur Lambani Embroidery 12 5. Hand Made Carpet of Bhadohi 31 6. Paithani Saree & Fabrics 43 7. Mahabaleshwar Strawberry 65 8. Hyderabad Haleem 71 9. General Information 77 10. Registration Process 81 3 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 33 of the Geographical Indications Journal dated 30th April 2010 / Vaisakha 2, Saka 1932 has been made available to the public from 30th April 2010. 4 G.I. Geographical Indication Class Goods App.No. 1 Darjeeling Tea (word) 30 Agricultural 2 Darjeeling Tea (Logo) 30 Agricultural 3 Aranmula Kannadi 20 Handicraft 24, 25 & 4 Pochampalli Ikat Textile 27 5 Salem Fabric 24 Textile 6 Payyannur Pavithra Ring 14 Handicraft 7 Chanderi Fabric 24 Textile 8 Solapur Chaddar 24 Textile 9 Solapur Terry Towel 24 Textile 10 Kotpad Handloom fabric 24 Textile 24, 25 & 11 Mysore Silk Textile 26 12 Kota Doria 24 & 25 Textile 13 Mysore Agarbathi 3 Manufactured 14 Basmati Rice 30 Agricultural 15 Kancheepuram Silk 24 & 25 Textile 16 Bhavani Jamakkalam 24 Textile 17 Navara - The grain of Kerala 30 Agricultural 18 Mysore Agarbathi "Logo" 3 Manufactured 19 Kullu Shawl 24 Textile 20 Bidriware 6, 21 & 34 Handicraft 21 Madurai Sungudi Saree 24 & 25
    [Show full text]
  • Post Mauryan Trends in Indian Art and Architecture (Indian Culture Series – NCERT)
    Post Mauryan Trends in Indian Art and Architecture (Indian Culture Series – NCERT) In this article, we are dealing with the trends in the post-Mauryan art and architecture as a part of the Indian Culture series based on the NCERT textbook ‘An Introduction to Indian Art’- Part 1. We have already discussed the arts of the Mauryan period in the previous article. This post gives a detailed description about the Post-Mauryan Schools of Art and Architecture such as Gandhara, Mathura, Amaravati, etc. and also the cave traditions that existed during the period. This post also deals with some of the important architectural sites such as Sanchi, Ajanta, Ellora, etc. Take the Clear IAS Exam UPSC prelims mock test on Indian culture. You not only will learn the important facts related to Indian culture, but will also start to love the subject! Indian Architecture after the Mauryan Period From the second century BCE onwards, various rulers established their control over the vast Mauryan Empire: the Shungas, Kanvas, Kushanas and Guptas in the north and parts of central India; the Satavahanas, Ikshavakus, Abhiras, Vatakas in southern and western India. The period also marked the rise of the main Brahmanical sects such as the Vaishnavas and Shaivas. Places where important sculptures are seen Some of the finest sculptures of this period are found at Vidisha, Barhut (M.P), Bodhgaya (Bihar), Jaggaypetta (Andhra Pradesh), Mathura (UP), Khandagiri-Udayagiri (Odisha), Bhaja near Pune (Maharashtra). Barhut Barhut sculptures are tall like the images of Yaksha and Yakshini in the Mauryan period. Modelling of the sculpture volume is in low relief maintaining linearity.
    [Show full text]
  • Revival of Kasuti Embroidery Motifs in Knitted Kurties Through Computer
    DOI: 10.5958/2349-4433.2015.00042.2 Revival of Kasuti Embroidery Motifs in Knitted Kurties Through Computer Aided Designs K Kaur* and D Kaur ** Department of Apparel and Textile Science, College of Home Science Punjab Agricultural University, Ludhiana-141 004 (Punjab) ABSTRACT The investigation entitled Knitwear product development using kasuti embroidery motifs was carried out in Ludhiana city. For the selection of motifs and colour combinations panel of judges comprising faculty of College of Home Science, PAU, Ludhiana was selected. Three colleges in the city namely Guru Nanak Girls College, Model Town; Khalsa College for Women, Ghumar Mandi and College of Home Science, PAU were selected for studying the preferences for the preparation of kurti. Traditional motifs of kasuti embroidery were selected, plates were developed through Corel Draw 13 and shown to 10 panel of judges. After the selection of motifs, three colour combinations of each motif were developed and again shown to 20 judges to finalize the 10 colour combinations of the 10 selected motifs for the development of design. After that two different design placements were prepared of the 10 most preferred motifs and their colour combinations. An interview schedule was prepared for the purpose of collecting data from 80 female respondents between the age group of 20 to 30 years selected randomly from three colleges of Ludhiana city. The results of the study revealed that majority of the respondents were graduates, belonging to nuclear families. Seventy per cent of the respondents were aware of knitwear designs and 51.3 per cent aware of kasuti embroidery and 70 per cent respondents preferred to buy knitwear kurtis.
    [Show full text]
  • O Rigin Al a Rticle
    International Journal of Textile and Fashion Technology (IJTFT) ISSN (P): 2250-2378; ISSN (E): 2319-4510 Vol. 9, Issue 4, Aug 2019, 1-10 © TJPRC Pvt. Ltd. AN IMPACT OF WOVEN KASUTI NEGI MOTIFS IN ILKAL SAREES USING REGENERATED CELLULOSE YARNS JYOTHI KORDHANYAMATH 1 & Dr. S. KAUVERYBAI 2 1Assistant Professor, Acharya Institute of Graduate Studies, Bangalore, India 2Associate Professor, Smt V H D Central Institute of Home Science Bangalore, India ABSTRACT India has a diverse and rich textile tradition which is known for its beauty and ethnicity. The textiles are highly appreciated all over the world and considered as prestigious possession by everyone. Ilkal is one of the traditional textiles which is famous all over the world. Topeteniseragu and kondi techniques are the unique factors of Ilkal saree. The strength and magnificence of the Ilkal sarees makes it one of the favourites among women. The present study aims at revival of traditional IIkal sarees with two concepts. First one is to weave a kasutinegi motif in Ilkalsaree and second one is to introduce regenerated cellulose yarns in weaving Ilkalsaree. The kasuti motifs are being woven into Ilkal sarees with jacquard setup using extra set of weft yarns. Original Article Article Original KEYWORDS: Ilkal, Topeteni, Kondi Technique, Negi Motif & Regenerated Cellulose Yarns Received: May 14, 2019; Accepted: Jun 04, 2019; Published: Jun 24, 2019; Paper Id.: IJTFTAUG20191 INTRODUCTION India is a country with diversified customs and cultures. Ilkal is famous by the name of Ilkal town in Karnataka. It is nearer to the borders of two states Maharashtra and Andhra Pradesh.
    [Show full text]